A  r  t  Lit. 

353 

C83N42 


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NE'7  YCRK 

METROPCL IT  AM 
MUSEUM 

LOAN    EXHIBIT  I OM    CF 
THE   '•/0.<K    OF 
olUSTAVE    COUkBET 


GUSTAVE  COURBET 

CENTENARY  EXHIBITION 


MCMXIX 


iiiii 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


GIFT  OF 
GIORGIO  NICODEMI 


LOAN  EXHIBITION 
OF  THE  WORKS  OF 
GUSTAVE  COURBET 


THE  METROPOLITAN  MUSEUM  OF  ART 

LOAN  EXHIBITION 
OF  THE  WORKS  OF 
GUSTAVE   COURBET 


NEW  YORK 

APRIL  7  TO  MAY  i8 

MCMXIX 


Copyright  by 

The  Metropolitan  Museum  of  Art 

April,  1 919 


Library 

HV 

LENDERS  TO  THE 
,  EXHIBITION 

Mrs.  A.  A.  Anderson 

Anonymous 

Mrs.  Harry  Payne  Bingham 

Museum  of  Fine  Arts,  Boston 

W.  Endicott  Dexter 

Joseph  Durand-Ruel 

Mrs.  Michael  Gavin 

Charles  W.  Gould 

D.  Kelekian 

C.  W.  Kraushaar 

Burton  Mansfield 

The  Minneapolis  Institute  of  Arts 

The  Pennsylvania  Academy  of  the  Fine  Arts 

Mrs.  Charles  H.  SenfE 

Estate  of  Charles  H.  Senff 

Josef  Stransky 

Mrs.  Edward  C.  Walker 

Colonel  C  E.  S.  Wood 


-1593136 


INTRODUCTION 

No  nineteenth-century  painter  has  had  a  deeper  or 
more  wide-spread  influence  than  Gustave  Courbet,  the 
founder  of  the  Realistic  School  that  has  furnished  so 
many  of  the  greatest  names  to  modern  art.  Nothing 
should  be  invented,  he  held,  only  things  actually  seen 
should  be  represented,  and  the  function  of  the  imagina- 
tion is  to  find  the  fullest  expression  of  the  chosen  sub- 
ject. His  principles  have  been  particularly  potent  in 
America  from  1 875  down  to  almost  our  own  day.  Three 
of  the  foremost  American  painters,  Whistler,  Homer, 
and  Eakins,  were  his  followers — Whistler  directly, 
whereby  many  of  his  characteristics  and  peculiarities 
were  determined  and  his  early  style  formed,  while 
Homer  and  Eakins  throughout  their  entire  careers  show 
their  reliance  on  him.  It  is  therefore  fitting  that  the 
hundredth  anniversary  of  his  birth,  which  took  place 
on  the  tenth  of  June,  1819,  should  be  commemorated 
in  this  country.  The  present  loan  exhibition  consists  of 
pictures  chosen  from  the  splendid  series  of  his  works 
owned  here,  which  were  gathered  mostly  before  the 
acquisition  of  important  examples  became  impossible. 
Our  collectors  were  among  the  early  ones  to  appreciate 
his  excellence.  To  America,  indeed,  belongs  the  honor 
of  being  the  first  of  foreign  lands  to  own  one  of  his 
masterpieces.  The  Quarry  {La  Curee)  was  bought  by 
the  Allston  Club  of  Boston  in   1866.     It  has  lately 


li 


INTRODUCTION 

passed  into  the  possession  of  the  Museum  of  Fine  Arts, 
Boston,  and  has  been  generously  lent  for  this  occasion. 
The  museums  and  the  private  collectors  alike  have 
shown  an  enthusiastic  interest  in  our  enterprise,  and  on 
behalf  of  our  public  we  beg  to  thank  them  for  having 
made  possible  this  illuminating  exhibition. 

Looking  back  from  our  distance,  it  is  obvious  that 
Courbet's  principles  were  inevitably  the  outcome  of  the 
artistic  development.  The  realism  of  the  seventeenth 
century  had  been  followed  by  the  courtly  ideality  of  the 
eighteenth;  this,  in  turn,  was  displaced  by  the  interest 
in  classic  art  which  to  those  of  the  time  seemed  a  return 
to  nature,  and  such  it  was  as  far  as  many  of  its  elements 
were  concerned.  David,  the  leader  of  the  Classicists, 
was  entirely  a  naturalist  in  his  portraits  and  he  antici- 
pated the  evolution  in  frequently  choosing  subjects  from 
contemporary  life,  like  the  Oath  of  the  Tennis  Court 
and  his  pictures  of  Imperial  ceremonies.  His  pupils, 
Ingres  and  Gros,  carried  their  naturalism  still  further, 
particularly  the  latter,  and  Gericault,  his  follower, 
might  perhaps  have  forestalled  Courbet's  realism  had 
he  lived.  Gericault's  paintings  of  animals  show  the 
direction  in  w^hich  he  was  proceeding. 

Realism  was  an  instinct  with  Courbet.  As  a  student 
he  felt  himself  drawn  to  the  great  realists  of  the  past — 
Holbein,  Ribera,  Caravaggio,  Velazquez,  the  little 
Dutch  Masters,  and  above  all  Rembrandt,  "the 
exact  image  of  life,"  he  said,  "who  charms  the  intelli- 
gent but  stuns  and  massacres  the  imbeciles."  His  early 
works  were  portraits,  of  himself  mostly,  and  landscapes, 
with  only  a  very  few  efforts  in  the  direction  of  the  then 

viii 


INTRODUCTION 

fashionable  Romanticism;  the  picture  of  Lot  and 
his  Daughters,  now  in  America,  being  one  of  these. 
His  bent  from  the  first  was  to  copy  exactly  what  he 
saw,  and  his  work  had  none  of  the  artificial  arrange- 
ments and  embellishments  that  even  innovators  like 
Rousseau  or  Corot  felt  called  upon  to  make  in  their 
more  ambitious  pictures.  In  this,  as  in  all  his  practices, 
he  seems  merely  to  have  abandoned  himself  to  his 
preferences,  with  no  idea  of  establishing  a  new  sestheti- 
cism,  until  the  idea  was  suggested  to  him  by  theorizing 
friends.  Realism  was  in  the  air  and  was  making  itself 
felt  in  literature  as  well  as  in  painting. 

Under  these  circumstances  it  is  hard  to  understand 
the  abuse  that  greeted  Courbet's  pictures  when  they 
appeared  as  a  force  about  1850.  His  history  was  no 
different  from  that  of  other  painters  of  original  genius. 
There  were  a  few  in  the  middle  of  the  hubbub  who 
believed  in  him,  and  the  number  slowly  increased  until 
general  recognition  and  official  sanction  came.  But  the 
time  of  triumph  in  his  case  was  cut  short  by  the  politi- 
cal events  in  which  he  had  become  enmeshed,  leading  to 
his  decline  and  to  his  death  in  exile. 

He  came  of  a  peasant  family  in  comfortable  circum- 
stances at  Ornans,  Franche-Comte.  He  had  no  gift 
for  classical  studies  or  literary  culture,  only  for  paint- 
ing. The  artist  revealed  through  his  pictures  is  an 
energetic,  exuberant  person  of  enormous  appetites,  filled 
with  the  joy  of  life  and  the  love  of  his  work.  His 
genius  lay  in  his  susceptibility  to  the  power  and  fecun- 
dity of  nature  and  his  marvelous  power  of  expressing 
these  in  his  art.     He  had  a  boundless  admiration  for 

ix 


INTRODUCTION 

himself,  both  for  his  person*  and  for  his  abilities  in  all 
particulars,  joined  to  an  ever-increasing  hunger  for 
celebrity.  He  remained  always  as  impulsive  and  as 
heedless  as  a  school-boy.  His  latest  biographer,  his 
friend  Theodore  Duret  (whose  portrait  by  Whistler 
may  be  seen  in  Gallery  20),  makes  these  facts  clear. 
Duret  tells  an  incident  that  is  significant.  When  past 
fifty  Courbet  surprised  his  friends  at  a  party  that  was 
celebrating  his  final  successes,  by  walking  at  noon 
through  the  main  street  of  Bougival,  clad  only  in 
bathing  trunks,  a  bath  towel  thrown  over  one  shoulder, 
with  the  object  of  shocking  the  townspeople!  It  was  a 
similar  devil-may-care  spirit,  seemingly,  that  prompted 
his  activities  during  the  Commune. 

Among  those  who  in  the  early  days  applauded  his  work 
were  intellectual  people  who  saw  in  it  the  manifesta- 
tion in  painting  of  what  they  themselves  were  preach- 
ing, Proudhon,  the  social  reformer,  was  of  the  number, 
and  Courbet  frequently  served  as  text  in  his  book,"L'Art 
et  sa  Destination  Sociale."  The  Stone-breakerSj  for  in- 
stance (one  of  the  early  pictures  of  the  same  time  and 
sort  as  The  Grinders  of  this  exhibition),  Proudhon 
pronounced  as  precious  morally  as  one  of  the  Parables. 
It  is  a  picture  of  two  men  working  at  the  roadside — 
one  old  and  miserable,  brutalized  by  his  monotonous 

•  His  good  looks  as  a  young  man  can  be  judged  by  the 
portrait  of  himself  as  The  Violoncellist.  Other  self-like- 
nesses in  this  exhibition  are  found  in  The  Quarry,  where 
he  is  the  huntsman  leaning  against  the  tree,  in  the  Hunts- 
man on  Horseback  Finding  the  Trail,  and  in  the  Landscape 
by  the  Sea,  where  he  appears  as  one  of  the  small  figures  at 
the  left. 


INTRODUCTION 

labor,  and  the  other  young.  Proudhon  found  in  the 
painting  many  statements:  for  example,  that  the  young 
were  victimized ;  that  slavery  was  preferable  to  the 
social  order  of  the  time  because  slaves  as  assets  were 
protected  from  overwork  as  were  beasts  of  burden ;  that 
no  one  could  be  certain  of  escaping  misery  and  poverty ; 
that  the  condition  of  the  stone-breakers  was  that  of  six 
million  souls  in  France.  His  conclusion  was  that  the 
picture  should  be  set  up  as  an  altarpiece  in  some  church. 
Of  course  Courbet,  in  its  execution,  had  thought  only 
of  setting  down  a  familiar  spectacle,  but  he  was  quite 
ready,  nevertheless,  to  consider  himself  the  Messiah  of 
the  Social  Revolution. 

So  he  assumed  the  position.  It  is  time  to  regenerate 
humanity  as  I  have  regenerated  painting:  this  was  his 
attitude.  After  the  fall  of  Napoleon  III,  his  opportu- 
nity for  action  came.  He  stayed  in  Paris  during  the 
siege  and  was  named  the  president  of  an  unofficial  com- 
mission of  artists  selected  to  take  charge  of  the  works 
of  art  belonging  to  the  people.  As  such  he  asked  for 
authorization  to  take  down  {deboulonner)  the  Ven- 
dome  column,  wishing  to  remove  a  monument  to  Napo- 
leon and  the  Grande  Armee  which  celebrated  despotism 
and  conquest,  and,  besides,  stood  for  the  Imperial 
regime  that  was  responsible  for  the  plight  of  France. 
The  destruction  of  the  column  did  not  take  place  until 
later,  under  the  Commune.  Though  Courbet  was  not 
of  the  voting  body  that  decided  upon  the  action,  he  was 
held  responsible  for  it  by  the  Republic,  was  imprisoned, 
and  finally  condemned  to  pay  the  cost  of  the  reconstruc- 
tion, amounting  to  323,000  francs.  He  cut  a  sorry 
figure  at  the  trial  and  in  1873  escaped  to  Switzerland. 

xi 


INTRODUCTION 

Though  he  continued  to  paint  remarkable  pictures,  his 
old  pride  and  defiance  had  been  quenched  in  his 
troubles.     He  died  in  1877. 

His  commentators  without  exception  feel  called  upon 
to  condone  his  personality,  but  what  was  questionable 
in  the  man  becomes  admirable  in  the  artist.  All  his 
abilities  were  concentrated  in  his  art,  and  there,  because 
he  was  a  great  painter,  unreason  and  vanity  are  trans- 
muted into  steadfastness  and  sublime  self-confidence. 
His  genius  had  clearly  defined  limitations,  to  be  sure; 
but  once  these  be  recognized  and  accepted,  his  rank  is 
unquestionably  with  the  greatest. 

Bryson  Burroughs. 


CATALOGUE 


CATALOGUE 

The  pictures  are  catalogued  chronologically  so  far  as  their 
dates  are  known.    All  are  painted  in  oil  on  canvas. 

1  THE  VIOLONCELLIST 

A  portrait  of  the  artist  at  about  twenty-eight  years 
of  age.  Painted  in  1846-1847 ;  refused  at  the  Salon 
of  1847;  exhibited  at  the  Salon  of  1848  and  at  the 
Courbet  Exhibitions  in  Paris  in  1855  and  1867. 

H.  45;  w.  35  inches.  Signed,  lower  left:  G. 
Courbet. 

Lent  by  Colonel  C.  E.  S.  Wood. 

2  PORTRAIT  OF  URBAIN  CUENOT,  THE 
MAYOR  OF  ORNANS 

The  sitter  was  a  friend  of  the  artist.  The  portrait 
was  painted  at  Ornans  in  1846  or  1847;  refused 
at  the  Salon  of  1847;  exhibited  at  the  Salons  of 
1848  and  1852,  at  the  Universal  Exposition  of 
1855,  and  the  Courbet  Exhibition  in  Paris  in  1867. 
The  figure  of  M.  Cuenot  in  a  similar  position  ap- 
pears in  A  Funeral  at  Ornans  (Salon  1 850— 51). 

H.   37>4 ;  w.   29^    inches.      Signed,   lower  left: 

Courbet. 

Lent  by  The  Pennsylvania  Academy  of  the  Fine 

Arts. 


THE    METROPOLITAN    MUSEUM    OF    ART 

THE  GRINDERS  (LES  REMOULEURS) 

It  is  of  about  the  same  date  as  The  Stone-breakers 
(Les  Casseurs  de  Pierres) ,  which  created  much  ex- 
citement in  the  Salon  of  1850. 

H.  34^;  w.  40}i  inches.     Signed,  lower  left:  G. 

Courbet. 

Lent  anonymously. 

THE  VILLAGE  GIRLS  (LES  DEMOI- 
SELLES DE  VILLAGE) 

The  three  sisters  of  the  artist,  one  of  whom  gives  a 
piece  of  cake  to  a  peasant  child :  the  place  is  a  pas- 
ture above  the  rocks  at  Ornans.  Painted  at  Ornans 
about  1850;  exhibited  at  the  Salon  of  185 1  and  at 
the  Courbet  Exhibitions  in  Paris  in  1855  and  1867. 

H.  36^;  w.    1023/2    inches.     Signed,   lower  left: 

G.  Courbet. 

Lent  by  Mrs.  Harry  Payne  Bingham. 

PORTRAIT  OF  ALPHONSE  PROMAYET 

He  was  a  friend  of  Courbet's  and  appears  in  his 
famous  early  picture,  Un  Apres-midi  a  Ornans,  now 
in  the  Lille  Museum.  At  one  time  he  was  a  violin- 
ist in  the  orchestra  of  the  Hippodrome  at  Paris. 
Painted  about  1851  and  exhibited  at  the  Salon  of 
that  year,  at  the  Courbet  Exhibitions  at  Paris  in 
1855  and  1867,  and  at  the  Memorial  Exhibition  at 
the  Beaux-Arts  in  1882. 

H.  42^;  w.  27^   inches.     Signed,  lower  right: 
G.  Courbet. 
Lent  anonymously. 


WORKS    OF    GUSTAVE    COURBET 

6  THE  AMAZON— PORTRAIT  OF  LOUISE 
COLET 

She  was  a  writer  of  stories  and  is  supposed  to  have 
been  the  original  of  Amandorine  in  Champfleury's 
"Mascarade  de  la  Vie  Parisienne" ;  born  1810,  died 
1876.  Painted  about  1856  and  considered  by  Riat 
("Courbet,"  p.  172)  to  be  one  of  the  artist's  most 
beautiful  portraits. 

H.  45/^;  w.  35  inches.  Signed,  lower  left:  G. 
Courbet. 

Lent  anonymously. 

7  HUNTING  DOGS 

The  same  dogs  occur  in  The  Quarry  (No.  10). 
Presumably  this  is  a  preliminary  work  for  that 
picture. 

H.  36^;  w.  58^4  inches.  Signed,  lower  right: 
G.  Courbet. 

Lent  anonymously. 

8  PORTRAIT  OF  M.  GUEYMARD  OF  THE 
OPERA  IN  THE  ROLE  OF  ROBERT  LE 
DIABLE 

It  is  the  moment  when  Robert  sings,  "Oui,  I'or  est 
une  chimere."  His  companions  are  shown  with 
him ;  in  his  right  hand  he  raises  the  dice-box  which 
will  decide  his  fortune.  Painted  in  1856  or  1857 
and  shown  in  the  Salon  of  that  year,  at  the  same 
time  as  The  Quarry,  and  in  the  Memorial  Exhibi- 
tion, Beaux-Arts,  in  1882. 


THE    METROPOLITAN    MUSEUM    OF    ART 

H.    58;    w.    42    inches.      Signed,    lower    left:    G. 
Courbet. 

Lent  by  Mrs.  A.  A.  Anderson. 


9  PORTRAIT   OF   MADAME   CROCQ    (LA 
FEMME  AU  GANT) 

Painted  in  1857  ^^^  exhibited  at  the  Salon  of  that 
year,  in  the  Courbet  Exhibition  in  1857,  and  in  the 
Memorial  Exhibition  at  the  Beaux-Arts  in  1882. 

H.  69^;  w.  43  inches.  Signed,  lower  right: 
G.  Courbet. 

Lent  anonymously. 

10  THE  QUARRY  (LA  CUREE) 

The  old  title  contains  also  the  Hunt  of  the  Roe- 
buck in  the  Forests  of  the  High  Jura.  The  hunts- 
man leaning  against  the  tree  is  Courbet  himself. 
When  first  exhibited  in  the  Salon  of  1857  the  pic- 
ture was  not  so  large  as  at  present,  a  strip  about 
eighteen  inches  wide  having  since  been  added  at 
the  top,  and  one  six  and  one  half  inches  wide  at 
the  left.  This  was  the  first  important  picture 
by  Courbet  to  be  bought  outside  of  France.  It  was 
purchased  by  the  Allston  Club  of  Boston  in  1866 
and  passed  into  the  possession  of  the  Boston 
Museum  of  Fine  Arts  in  1918. 

H.  823^  ;  w.  70^4  inches.  Signed,  lower  right:  G. 
Courbet. 

Lent  by  The  Museum  of  Fine  Arts,  Boston. 

6 


WORKS    OF    GUSTAVE    COURBET 

11  THE  MEDITERRANEAN 

H.  233/2,*  w.  333^  inches.     Signed,  lower  left:  G. 
Courbet. 

Lent  by  Burton  Mansfield. 

12  NEIGHBORHOOD     OF     ORNANS      (EN- 
VIRONS D'ORNANS) 

H.    28^ ;   w.    36^    inches.      Dated    and    signed, 
lower  left:  62  Gustave  Courbet. 

Lent  by  Mrs.  Michael  Gavin. 

13  THE    SOURCE 

Painted  about  1862. 

H.  473^2;  w.  293/2    inches.     Signed,  lower  right: 
G.  Courbet, 

Lent  anonymously. 

14  AFTER  THE  HUNT 

H.  93;  w.   7334   inches.     Signed,  lower  left:   G. 
Courbet. 

Lent  anonymously. 

15  NUDE  WOMAN— THE  CHERRY 
BRANCH   (LA  BRANCHE  DE  CERISIER) 

Painted    at    Saintes    about    1863;    shown    at    the 
Courbet  Exhibition  in  Paris,  1867. 

H.  293/2;  w.  24  inches.     Signed,  lower  right:  G. 
Courbet. 

Lent  anonymously. 


THE    METROPOLITAN    MUSEUM    OF    ART 

i6  THE  SOURCE  OF  THE  LOUE 

Painted  about  1864  and  shown  at  the  Courbet  Ex- 
hibition in  Paris  in  1867. 

H.    39-)'8 ;   ^^'-    56/4    inches.      Signed,   lower   edge 
near  the  center:  G.  Courbet. 

Lent  anonymously. 

17  THE  ROCKY  STREAM— THE  BROOK  OF 
THE  BLACK  WELL 

H.   21;  w.   24J/4   inches.      Signed,  lower  left:   G. 
Courbet. 

Lent  by  the  Estate  of  Charles  H.  Senfi. 

18  THE  BLACK  WELL  (LE  PUITS  NOIR) 

H.  21^;  w.  35  inches.     Signed,  lower  right:  G. 
Courbet. 

Lent  by  Josef  Stransky. 

19  LANDSCAPE 

H.  29;  w.  36^  inches.     Signed,  lower  right:  G. 
Courbet. 

Lent  by  W.  Endicott  Dexter. 

20  THE  BROOK  OF  THE  BLACK  WELL 
(LE  PUITS  NOIR) 

H.   32 ;  w.   395^    inches.      Dated  and  signed :   65 
G.  Courbet. 

Lent  by  Charles  W.  Gould. 
8 


WORKS    OF    GUSTAVE    COURBET 

21  LANDSCAPE  BY  THE  SEA  (PAYSAGE 
AU  BORD  DE  LA  MER) 

Painted  about  1865. 

I^.   26;  w.   32   inches.      Signed,   lower   right:    G. 
Courbet. 

Lent  by  Mrs.  Charles  H.  Senff. 


22  THE  ISOLATED  ROCK 

Painted  on  the  Normandy  coast  about  1865. 

H.  25^;  w.  32  inches.  Signed,  lower  left:  G. 
Courbet. 

Lent  anonymously. 

23  THE  WOMAN  WITH  THE  MIRROR 
(LA  BELLE  IRLANDAISE) 

The  sitter,  Joanna  Abbot,  was  Whistler's  com- 
panion for  a  number  of  years  and  the  model  for 
many  of  his  paintings,  including  the  White  Girl 
of  the  Salon  des  Refuses  in  1863,  the  Little  White 
Girl  of  1865,  and  others.  Whistler  and  she  spent 
the  summer  of  1865  at  Trouville  at  the  time 
Courbet  was  there.  This  picture  was  shown  at 
the  Courbet  Exhibition,  Paris,  1867,  and  at  the 
Memorial  Exhibition  (Beaux-Arts,  1882).  Another 
version  of  the  work  exists. 

H.  22j/^  ;  w.  26  inches.  Dated  and  signed,  lower 
left:  66  Gustave  Courbet. 

Lent  anonymously. 


THE    METROPOLITAN    MUSEUM    OF    ART 

24  THE  WOMAN  WITH  THE  PARROT 
(LA  FEMME  AU  PERROQUET) 

Painted  at  Paris  in  1866.  The  model  has  cop- 
per-colored hair  that  resembles  that  of  La  Belle 
Irlandaise.  The  picture  was  one  of  the  successes 
of  the  Salon  of  1866;  it  was  shown  in  the  Courbet 
Exhibition  of  1867  and  the  Memorial  Exhibition  of 
1882  at  the  Beaux-Arts. 

H.  50;  w.  77  inches.  Dated  and  signed,  lower 
left:  66  Gustave  Courbet. 

Lent  anonymously. 

25  THE  LAKE 

H.  285^  ;  w.  36  inches.  Dated  and  signed,  lower 
left:  66  G.  Courbet. 

Lent  by  Mrs.  Michael  Gavin. 

26  HUNTSMAN  ON  HORSEBACK  FINDING 
THE  TRAIL  (CHASSEUR  A  CHEVAL  RE- 
TROUVANT  LA  PISTE) 

The  horseman  is  Courbet  himself;  the  horse  scents 
footprints  in  the  snow.  Painted  about  1867;  ex- 
hibited in  the  Courbet  Exhibition,  Paris,  1867. 

H.  47;  w.  37^  inches. 

Lent  anonymously. 

27  PORTRAIT  OF  A  WOMAN  (MADAME 
FROOD) 

Painted  between  1866  and  1870. 
10 


WORKS    OF    GUSTAVE    COURBET 

H.  25^;  w.  19^  inches.  Signed,  lower  left:  G. 
C  our  bet. 

Lent  by  The  Pennsylvania  Academy  of  the  Fine 
Arts. 

28  THE  WAVE 

Painted  about  1865-69.  Exhibited  at  the  Memorial 
Exhibition  at  the  Beaux- Arts  in  1882. 

H.  25^;  w.  34^  inches.  Signed,  lower  left:  G. 
Court  et. 

Lent  anonymously. 

29  LANDSCAPE 

H.  21^;  w.  24^  inches.     Signed,  lower  left:  G. 

Courbet. 

Lent  by  Charles  W.  Gould. 

30  DEER  IN  THE  FOREST 

H.  51^  ;  w.  38^  inches.  Dated  and  signed,  lower 
left:  68  Gustave  Courbet. 

Lent  by  The  Minneapolis  Institute  of  Arts. 

31  THE  WOMAN  IN  THE  WAVES  (LA 
FEMME  A  LA  VAGUE) 

The  same  model  as  in  the  Woman  with  a  Parrot, 
says  Riat  ("Courbet,"  p.  264),  and  adds  that  the 
picture  upholds  without  detriment  the  comparison 
with  Titian's  Venus  Anadyomene  in  the  Bridge- 
water  Collection  in  London.  Shown  in  the 
Memorial  Exhibition,  Beaux-Arts,  1882. 

II 


THE    METROPOLITAN    MUSEUM    OF    ART 

H.  25  ;  w.  21  inches.    Dated  and  signed,  lower  left: 
68  G.  Courbet. 

Lent  anonymously. 

32  MARINE 

H.   21  ;  w.   29   inches.     Signed   and   dated,   lower 
right:  G.  Courbet  69. 

Lent  by  the  Estate  of  Charles  H.  Senff. 

33  STORMY  WEATHER  AT  ETRETAT 

Painted  about  1868-70. 

H.  28^;  w.  36^  inches.     Signed,  lower  right:  G. 
Courbet. 

Lent  by  Joseph  Durand-Ruel. 

34  THE  MUSSEL  GATHERERS 

H.  14^;  w.  20^  inches.     Signed,  lower  left:  G. 
Courbet. 

Lent  by  Burton  Mansfield. 

35  MARINE 

H.   20;  w.   24   inches.      Signed,   lower   right:    G. 
Courbet. 

Lent  by  D.  Kelekian. 

36  ETRETAT 

H.  28}i;  w.  36  inches.     Signed,  lower  right:  G. 
Courbet. 

Lent  by  Josef  Stransky. 

12 


WORKS    OF    GUSTAVE    COURBET 

37  SPRING  FLOWERS 

Painted  at  the  prison  of  Sainte  Pelagie,  Paris,  1871. 

H.    26;   w.    32    inches.      Signed,    lower   left:    G. 
Courbet. 

Lent  anonymously. 

38  THE  FISHERMAN 

H.  19^;  w.  24  inches.     Dated  and  signed,  lower 
left:   72  G.  Courbet. 

Lent  by  Mrs.  E.  C.  Walker. 

39  THE  CASTLE  OF  CHILLON 

H.  34^^  ;  w.  45^  inches.    Dated  and  signed,  lower 
left:  73  G.  Courbet. 

Lent  by  C.  W.  Kraushaar. 

40  THE  FRINGE  OF  THE  FOREST 

H.   35;  w.  455^    inches.     Signed,  lower  left:   G. 
Courbet. 

Lent  by  Charles  W.  Gould. 


13 


INDEX 


NUMBER 


After  the  Hunt 14 

Amazon,  The — Portrait  of  Louise  Colet        .      .  6 

Black  Well,  The  (LePuitsNoir)       ....  18 

Brook  of  the  Black  Well,  The  (Le  Puits  Noir)    .  20 

Castle  of  Chillon,  The 39 

Colet,  Louise,   Portrait  of 6 

Crocq,  Madame,  Portrait  of 9 

Cuenot,  Urbain,  the  Mayor  of  Ornans,  Portrait 

of         2 

Deer  in  the  Forest 30 

Etretat           36 

Fisherman,  The 38 

Fringe  of  the  Forest,  The 40 

Frood,  Madame,  Portrait  of          27 

Grinders,  The  (Les  Remouleurs) 3 

Gueymard,  M.,  of  the  Opera  in  the  Role  of  Robert 

le  Diable         8 

Hunting  Dogs 7 

Huntsman  on  Horseback  Finding  the  Trail  (Chas- 
seur a  Cheval  retrouvant  la  Piste)          ...  26 

Isolated  Rock,  The 22 

Lake,  The 25 

Landscape 19 

Landscape 29 

Landscape  by  the  Sea    (Paysage  au  Bord  de  la 

Mer)          21 

Marine          32 

15 


INDEX 

NUMBER 

Marine          35 

Mediterranean,  The 11 

Mussel  Gatherers,  The 34 

Neighborhood  of  Ornans  (Environs  d'Ornans)  .  12 
Nude  Woman — The  Cherry  Branch  (La  Branche 

de  Cerisier)           15 

Portrait  of  Alphonse  Promayet 5 

Portrait  of  Louise  Colet — The  Amazon     ...  6 

Portrait  of  Madame  Crocq  (La  Femme  au  Gant)  9 
Portrait  of  M.   Gueymard  of  the  Opera  in  the 

Role  of  Robert  le  Diable 8 

Portrait  of  Urbain  Cuenot,  the  Mayor  of  Ornans  2 

Portrait  of  a  Woman  (Madame  Frood)        .      .  27 

Prornayet,  Alphonse,  Portrait  of 5 

Quarry,  The  (La  Curee)          10 

Rocky  Stream,  The — The  Brook  of  the  Black 

Well 17 

Source,  The 13 

Source  of  the  Loue,  The 16 

Spring  Flowers 37 

Stormy  Weather  at  Etretat 33 

Village  Girls,  The  (Les  Demoiselles  de  Village)  4 

Violoncellist,  The i 

Wave,  The 28 

Woman   in  the  Waves,  The    (La   Femme  a  la 

Vague) 31 

Woman    with     the     Mirror,     The     (La     Belle 

Irlandaise) 23 

Woman  with   the  Parrot,  The    (La  Femme  au 

Perroquet) 24 


16 


THE  VIOLONCELLIST 


PORTRAIT   OF    URBAIX    CUENOT 
THE  MAYOR  OF  ORNANS 


the  grinders 
(les  remouleurs) 


THE   VILLAGE   GIRLS 
(lES  DEMOISELLES  DE  VILLAGE) 


PORTRAIT   OF   ALPHOXSE    PROMAYET 


THE  AMAZON — PORTRAIT  OF  LOUISE  COLET 


HUNTING  DOGS 


PORTRAIT  OF  M.   GUEYMARD  OF  THE  OPERA 
IN  THE  ROLE  OF  ROBERT   LE  DIABLE 


PORTRAIT  OF   MADAME  CROCQ 
(la  FEMME  AU  gant) 


lO 


the  quarry 
(la  curee) 


II 


THE   MEDITERRANEAN 


12 


neighborhood  of  ornans 
(environs  d'ornans) 


13 

THE  SOURCE 


14 


AFTER  THE  HUNT 


15 

NUDE    WOMAN — THE    CHERRY    BRANCH 
(la  BRANCHE  DE  cerisier) 


i6 


THE   SOURCE   OF  THE   LOUE 


THE    ROCKY    STREAM 

THE   BROOK  OF  THE   BLACK   WELL 


the  black  well 
(le  PUITS  noir) 


^■i^SSJ"*'^ 


19 
LANDSCAPE 


20 


the  brook  of  the  black  well 
(le  PUITS  noir) 


21 


LANDSCAPE    BY  THE   SEA 
(pays AGE   AU    BORD  DE    LA    MER) 


22 


THE   ISOLATED   ROCK 


23 

the  woman  with  the  mirror 
(la  belle  irlandaise) 


24 

the  woman  with  the  parrot 
(la  femme  au  perroquet) 


26 

huntsman  ox  horseback  finding  the  trail 
(chasseur  a  cheval  retrouvant  la  piste) 


27 

PORTRAIT  OF   A   WOMAN 
(MADAME  FROOD) 


29 

LANDSCAPE 


30 


DEER   IX    THE    FOREST 


31 

the  woman  in  the  waves 

(la  femme  a  la  vague) 


33 


STORMY   WEATHER   AT    ETRETAT 


34 


THE  MUSSEL  GATHERERS 


ETRETAT 


V 


37 

SPRING    FLOWERS 


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'  .^ 

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tM 

^^^^-^SiMi 

fwm 

m| 

^H 

HJ 

THE   FISHERMAN 


39 


THE  CASTLE  OF  CHILLON 


40 


THE   FRINGE   OF   THE    FOREST 


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